No other discipline encompasses the exploration of what it means to be human more thoroughly than theatre. Producing theatre, reading plays, watching live performance and teaching theatre production, performance and literature are ultimately ways to truly explore ideas surrounding the human condition. Incorporating literature, the written text from which the play is derived; fine art, design and craft in scenery, costuming and lighting; music and dance, sound design, composition and musical theatre; philosophy and ethics — most plays pose pertinent and challenging questions and, sometimes, answers. The inter-disciplinary list is endless: many contemporary plays are derived from historical sources, as well as current productions of theatre that is centuries and millennia old. Science and math are used as well with computer technology now infused into every facet of theatre imaginable and lighting, for example, employing extensive geometry. Theatre truly embraces the idea of cura personalis — care for the whole person — in an exponential way. In fact, the building that houses the formal theatre spaces at The University of Scranton features an inscription that reads "The Arts Provide a Pathway to the Human Heart." And yet when meeting prospective students and their parents, theatre patrons, and even University colleagues, the perception is sometimes that theatre is a frivolous and reckless endeavor. And possibly, from the uninformed perspective that the only viable career in theatre is the "Name-Above-Title" star of a major commercial (i.e. Broadway) hit, it may seem so. However, I would argue that skills learned by students in theatre courses, whether they be performance, production, dramatic literature or history courses, have a deep and meaningful relationship to the whole person and how that individual finds success in their future, whether they remain in theatre or not. Those skills, not obvious to the unacquainted, involve time management (strict production calendars where "The show must go on!"), collaboration (theatre is a communal activity; playwrights, directors, actors, designers, technicians, and audiences), personal responsibility (the theatre company is only as strong as its weakest member) and achievement (tackling complex themes and new production problems on a six- to eight-week cycle).  

Current statistics suggest that most people in this country will have more than one career path during the course of their professional lives. An undergraduate theatre education, particularly one within a liberal arts milieu, can provide a student with a multitude of skills and knowledge to prepare them for just about any career path. In fact, when a parent of a prospective student asks, "What can my son or daughter do with a theatre education?," a typical response is "What can’t they do?"! To go further out on a limb, the liberal arts-based undergraduate theatre degree prepares a student for the rest of their life, whether that takes them to graduate training in theatre or law school, sales, public relations, computer science, education or a host of other career paths.

In terms of successful outcomes, the Academic Theatre Program and the University Players have an impressive roster. Students participating in theatre prior to the 1997 inception of the Theatre major include industry professionals such as Walter Bobbie (Tony Award-winning director, "Chicago"), Dennis Size (Emmy Award-winning lighting designer) and Anitra Mecadon (host of "MegaDens;" HGTV/DIY networks), and theatre educators such as Gene Terruso (former Theatre Department chairman, University of the Arts), Stan Wojewodski, Jr. (former dean, Yale School of Drama, currently Theatre Department chairman, Southern Methodist University) and Paul Favini (acting director, University of Florida School of Theatre and Dance). Former students graduating with a Bachelor of Arts in Theatre are finding great success in substantial graduate programs such as University of Arizona (Jacki Kubiak, MFA, technical direction), Villanova University (Heather Lucas, MA candidate and Matt Silva, MA, theatre), Brooklyn College (Caitlin Burke, MFA candidate, costume design) and Chicago College of Performing Arts’, Roosevelt University (Jeff Trainor, MFA, acting). Additionally, current and former students are engaged in theatre employment at such venues as the Scranton Cultural Center, the Millbrook Playhouse, Theatreworks, USA, and the Utah Shakespearean Festival, to name a few.

Recent productions by the University Players, The University of Scranton theatre group, in conjunction with the Academic Theatre Program, reflect that sentiment from all facets. Aside from the obvious skills involved in producing a play (acting, building, painting, sewing, etc.), students, as participants and audience members, have learned about difficult and challenging issues such as school violence and its causes ("columbinus"), the death penalty ("Dead Man Walking"), human cloning ("A Number"), and complex interactions within faith, relationships and sexuality ("Tiny Alice," "Speech & Debate"). The issues that are raised in any number of plays help inform our students about what it means to be human beyond traditional learning; the human condition. That is not to say theatre only exists to be a source of edification. With the "willing suspension of disbelief " of audiences, the Players have musically romped across the globe in "Lucky Stiff" and harkened back to simpler times in "The Adventures of Tom Sawyer." Theatre can be enlightening and entertaining!

However, with all that grand success, one of the stories told most to prospective students and their (sometimes) doubting parents is about a graduate who just loved the theatre. Her name is Aileen Roginski and she was a Physical Therapy major — a very challenging discipline and one not obviously connected to theatre. Aileen graduated in 2003 with a Master of Physical Therapy, adding the Doctor of Physical Therapy in 2007. In addition to her rigorous studies in kinesiology, physiology and related PT areas, Aileen worked tirelessly backstage on most Players productions during her time at the University, so much so that I alternately suggested she add a theatre minor or expressed concern about her attention to her major. Aileen, always pleasant and generous, replied that she only wanted to do theatre for the fun of it and it wasn’t anything more than a respite from her PT studies.

Much to my delight, Aileen, upon graduating, secured a position with a physical therapy firm specializing in treating performers on Broadway productions! Aileen shared stories of working as a physical therapist on very physically challenging shows such as "42nd Street" and "The Lion King," and a particularly fascinating story about a percussion-driven production called "Drumstruck!" Apparently, the production, with the repetitive motion surrounding drumming, resulted in the most carpel tunnel syndrome Aileen had ever encountered at that stage of her career!

Aileen and the others exemplify what is possible and exciting about including theatre in and around your life. They embrace that concept that we as educators in the Jesuit tradition espouse; cura personalis. They have cared for others, and for themselves, within the context of theatre and its very substantial precept; examining the human condition. And for that, there will be no apology necessary.